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a fellow in 1654, but left, without taking his degree, to study the law in the Inner Temple, and was called to the bar, but it does not appear that he ever followed the profession. He early took up the study of art, and distinguished himself as a miniature painter. His works are somewhat larger in scale than those of his predecessors, and he used more body colour. They are a little after Cooper's manner, but deficient in his refinement of drawing expression, and finish, and are greatly behind him in grace, though they are far from wanting in merit, and are highly esteemed. Some portraits in oil by him also exist. They are pleasing in colour, well painted, with no appearance of littleness in manner. He was also a poet, and a small volume of 'Poems and Songs' by him, published in 1674, reached a third edition in 1688. His miniatures were, however, preferred to his writings by his contemporaries, for Lord Rochester says of him:
'Flatman, who Cowley imitates with pains,
And rides a jaded muse whipt with loose reins.'
And Granger, 'One of his heads is worth a ream of his pindarics;' and it is said also that his art was highly esteemed by Vertue. He lived in Three-leg Alley, St. Bride's, London, where he died, December 8, 1688, and was buried in the parish church. He possessed a small estate at Tishton, near Diss.
FLAXMAN, John, modeller. He was of an old Buckinghamshire race, originally from Norfolk, and four brothers of the family fought on the side of the Parliament at Naseby. He was descended from the youngest son, who settled in Buckinghamshire. Roubiliac and Scheemakers both employed him as a modeller. He kept a shop for the sale of plaster casts in Covent Garden, and afterwards in the Strand, where he died about 1795.
FLAXMAN, William, modeller. He was the eldest son of the above, and practised towards the end of the last century. He exhibited a 'Venus' with the Free Society of Artists in 1768, and at the Academy for the first time in 1781, sending a portrait of his brother in wax, and contributed a portrait in wax to three subsequent exhibitions, the last in 1793. He is said to have been distinguished as a carver in wood.
FLAXMAN, John, R.A., sculptor. Second son of the above John Flaxman. Was born in York city, July 6, 1755. He was a delicate boy, in very weakly health, and finding his amusement at home, probably received his first inspirations in art from the classic models in his father's shop. For this his taste had been quickened by a fair knowledge of Latin and Greek. He exhibited at the Free Society of Artists, as early as 1767, 'Models from the Antique;' in the next year, busts; and in 1769, 'The Assassination of Julius Caesar,' a model; probably the first idea of his completed work in 1781. In 1769 he was admitted a student of the Royal Academy. He had acquired the technicalities of his art from his father, and was diligent in his studies. In 1770-71 he exhibited portraits in wax at the Royal Academy; and in 1772 was an unsuccessful competitor for the gold medal, and could not refrain from tears when the decision was announced. The same year he exhibited a 'Figure of History;' the following year, 'A Figure of Grecian Comedy,' with, at the same time, some wax portraits. Continuing to exhibit with little intermission, in 1777 he contributed a clay model of 'Pompey' and of 'Agrippina;' in 1778, 'Hercules tearing his hair after having put on the poisoned Shirt;' in 1781, 'The Death of Julius Caesar' and 'Acis and Galatea,' two bas-reliefs; in 1782, a bust of Venus; in 1784, 'Prometheus;' followed in 1785-86 by some monumental groups, including that to the poet Collins at Chichester Cathedral and to Mrs. Morley at Gloucester Cathedral; and in 1787, 'Venus and Cupid.' During these years he was largely employed by Messrs. Wedgwood, and added greatly to his means by his designs for their celebrated pottery, and then for the next seven years he sent no work to the Academy Exhibitions.
His early art companions were Stothard, R. A., and Blake, and at this time, leaving his home, he lived in Wardour Street, where he worked zealously, modelling in wax and clay, and occasionally making a study in oil. In 1782 he married Anne Denman, an accomplished young lady of a family in the City, and in 1787, taking his wife, his helpmate ever by his side, as the companion of his travels, visited Italy, where he pursued his studies for seven years. At Rome, while he had to support himself by his work, he attracted great notice. He executed for the Earl of Bristol, but for a price which proved very inadequate, a marble group of four figures above life-size from Ovid's 'Metamorphosis,' representing the fury of Athamas. He began his designs in illustration of the great poets—the 'Iliad' and 'Odyssey,' 80 designs, 1793; from Æschylus, 1795; and Dante, 1797; and these works were engraved at Rome under his supervision by Piroli. On his return home, he was presented with the diplomas of the academies of Florence and Verona, and later he made the designs from 'Hesiod,' which were engraved in 1816.
He reached England in 1794, and in the following year took a house in Buckingham Street, Fitzroy Square, where he resided
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